


On Wand Making

by Philoslothical1095



Category: Harry Potter - J. K. Rowling
Genre: Elder Wand (Harry Potter), Gen, History, History of Magic, Ollivanders Wand Shop (Harry Potter), Pre-Canon, Pre-Hogwarts, Wand Cores, Wand Craft, Wands
Language: English
Status: Completed
Published: 2019-10-15
Updated: 2019-10-15
Packaged: 2020-12-16 13:53:40
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 1,657
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/21037283
Author URL: https://archiveofourown.org/users/Philoslothical1095/pseuds/Philoslothical1095
Summary: I recently started listen to "Potterless" podcast (which you should totally go check out cause it is quite fun) and one of the things that came up was the lack of definition to the magical system in the Harry Potter series. One of the particular points that has always interested me was the creation of wands, and getting a general History of Magic throughout the series. This short essay is an exploration of how I think wand craft works or seems to work in the Harry Potter universe.





	On Wand Making

The practice of making wands in our world is complex and a singularly difficult task that very few have ever come to call their science. The skill of wand craft, let alone pairing wand to wizard requires a deep understanding of a variety of skills taught at most magical institutions. Most notably wand makers need a thorough understanding of magical creatures, Herbology, the history of magic, and charms and/or transfiguration. This text will cover the basics of wand making and craft in our world. It will consider the rudimentary theories of wand craft and introduce the basic requirements for wand creation. By no means will this text prepares the reader for the creation of a wand and should your ultimate aim be the crafting of wands we suggest examining more of the vast body of wand-lore to be found at any number of magical libraries and speak to a wand maker since the trade is still rooted in its apprenticeship origins. 

**Section One: History and Anatomy of the Wand**

Wands are a complex combination of magically imbued objects. While they do allow witches and wizards to channel their power, wands are such unique mixtures of magical properties that they often develop “personalities” in response to the witch or wizard they are paired with, the personality of that individual, and the work they are used to perform. As original individuals the wand is comprised of the core, the wooden shell, its length, flexibility, and shape. Each of these elements is something a well versed wand maker strives to understand. 

Early wands were created by witches and wizards themselves under the supervision of a trained wand maker. This was done because it was believed that the strongest connection between the wand and its user is forged in the creative process that results in the creation of unique magical piece. In our modern day the legacy of this practice is visible in the apprenticeship of new wand makers, and the use of wands as a form of identification and magical signature. Early images generally took materials from the environment around them because these would be the core and wood these individuals were most familiar and had the greatest connection to. Among wand makers the idea that, “the wand chooses the wizard” remains one of the few universal truths of the craft. This is rooted in the journey ancient wizards underwent to the creation of their own wands which according to our best sources demanded the witch or wizard reflect deeply on what it is they want to accomplish in life, and the kind of magic they will need to perform. Thus it was not until they were significantly older that most ancient mages crafted their wands. The modern practice of giving children a wand is a more recent development grounded in the fact wand makers are continually creating wands devoid of much personality meaning that like their soon to be owners they are significantly less developed. This allows the wand to develop with their owner resulting in a similarly strong connection as ancient wizards had to their wands. 

Medieval wand making was performed largely by the Haemus Monks in the mountains of Eastern Bulgarian. While smaller schools existed in other remote regions around Europe, most notably the Pyrenees school, today known as Beauxbatons Academy, and the Ollivander family, the highland wanderers. Each of these schools had strong connections to trade and learning that allowed them to be the best at their science over the course of centuries. In the far East connections to the Silk Road brought the finest materials to the monks who discovered the supreme strength of silkworm and acromantula, threads for wand cores in wands of Bamboo, Olive, and Fig. These wands were generally light but incredibly strong. Reasonably flexible, these wands came in a variety of shapes, the significance of which we shall get to later. In the west Pyrenees crafters traded heavily with Iberian and North African merchants experimenting a lot with combinations of northern woods with traditionally southern cores and vice versa. Finally the Ollivander family who would eventually settle in London spent much of their early history. They are best known for the quality of wand and incorporation of a variety of techniques most likely acquired during their travels up and down the Anglo Norman Isle. The settling of the Ollivander family in London is often noted as the beginning of modern wand craft since it was shortly after this that the three great European schools of magic were founded and wizards began educating their children at an early age. In fact Ollivander’s last magical student was acclaimed wizard and Hogwarts founder Salazar Syltherin. 

**Basics of Wand Craft**

There are two critical ingredients to making a usable wand; The core, made of the hair of some magical creatures, and the wood, which acts as a protective shell for the core and conductor for magical ability. While most wood can be used to make wands it is generally found that woods native to the land where the mage was born holds a particular affinity for conducting their magic. The pliancy, porousness, and weight of the wood does affect the strength, speed, and force of magic emanating from the core. 

Wand cores are more reflective of the personality of the individual in question. This means a core matching the witch or wizard in question is ultimately more important that the wood, but we often find that cores and wood complement one another. For example the dragon heart string or Hippogriff Feather cores will often pair itself with stronger more assertive conductors, while Veela hair and Basilisk horn are more flexible, and good for charm work. At this point we need to be clearly understood that when we understand wand wood conducts the magical energy of magical creatures and hones it the wood also adds something to the magic giving the casting from the wand a kind of rudimentary signature. This will further be honed by the length and flexibility of the wood meaning a dragon heart string can be more or less flexible depending on the wood used in the wand. This stage of wand lore is what makes the study of magical creatures and magizoology vitally important to the creation of wands. Knowing what hairs and feathers to incorporate into wands requires the wand maker know both the creatures that will allow their hairs, feathers, and strings to be used, but also how to attain them. The best warning to be given to an aspiring wand maker is the tale of Maxim Varinash who was attempting to get a Hippogriff feather and misread the signals after bowing that resulted in his being charged down by the offended creature. 

Wand length and flexibility are something the wand maker is less in control because it is dependent on the wood and how it reacts to incorporation of the core. Some cores have been known to destroy their casing. In one instance a phoenix feather set its wooden casing on fire, while in another the wand maker attempted to prevent this by putting a dragon heart string at the core of a mangrove wand resulting in the dragon heart string becoming saturated leaving the wand ineffective. In terms of flexibility the more porous woods will stiffen when combined with some cores and with others remains as flexible. The wand length is a bit more dependent on the wand maker though the cut will affect the personality of the wand and the kind of wizard it attaches too. Often wand makers associate wand length with moral fiber and personality. Some cores may actually enhance the magical ability of the witch or wizard, materials such as house elf hair or goblin whisker though these are highly uncommon and like all hairs or feathers must be willing given by the creature from which they come. Goblins and House Elves are especially tricky to come by for this reason since their relationship to wizards has been so strained over the centuries. 

The final element we will discuss in this paper will be the wand shape which plays into the style of magic and and technique of the witch or wizard who partners with it. For example, a straight wand with curved engraving spiraling around the shaft is particularly good for performing highly technical magic. A curved wand excels for duelists, while a simple straight rod proves a highly consistent a utilitous. Bulbous appendages on a wand often indicate a volatile nature. Such wands to not tend to be particularly dedicated to their owners and will change hands fairly frequently over the course of their lifetimes. The variety of shapes to take to a wand are believed to be infinite since in over three centuries there has never been a recorded instance of two exactly similar wand. It is believed by wandmakers that the shape of a wand is dependent on the exact combination of wood, to core, to length. 

Wands are complex amalgamation where even the most simple of detail or alteration drastically affects the usability of this vital partner to every magical human.While the wood and core of a wand are the only necessary elements a well crafted wand balances out the wood and core with a logical or purposeful shape and length that give all wands unique skills and personalities that then identify a master who will make the best use of the wand. In this respect it is the wand that chooses the wizard though even after all the centuries of wand making crafters and lorefolk do not fully understand how exactly wands come to have these personality traits or whether they can ever truly be “crafted” if they choose a wizard and develop alongside that individual. Nevertheless the importance of wand craft can not be denied and will remain important so as long as magically inclined humans can not effectively use their magic without wands. 


End file.
